I have to say that with creating new brushes using Procreate has allowed me to bring my digital painting closer in line with my traditional oil painting. All of the standard brushes are nice, but going beyond those and customizing and creating new brushes has really allowed my work to evolve in new and exciting ways. That said, I am happy to say that my new digital paintings will be available to purchase very soon. Below are a few that I hope you will enjoy with some time-lapse videos to see the a little into the creative process.
Here are the new paintings featured in my solo exhibition. Contract me if you are interested in purchasing one. Show runs until the end of June 2018.
Sandler Center For The Performing Arts Gallery
Opening Reception April 18th 6-8PM
2nd & 3rd Floor
201 Market Street
Free & Open To The Public
As promised, I’m finally having a moment to write down the events related to my show for you to read. The Pavilion I gallery solo exhibition was my largest show to date and final tally was 80 paintings! And I was worried about hitting 40 when I first accepted, funny right? Setting up was a real roller coaster of emotions. First obstacle was finishing a couple of large paintings that I wanted to get in for the show. But the catch on the large one was I using a new paint that I was not familiar with. Even after a month of sitting on the easel, the damn paint wasn’t drying. Not even close! It felt as wet as the day I laid it on the canvas. Framing was also stressful, thanks to a snow storm and a cold freeze that prevented the snow and ice from melting away. That meant that FEDEX delayed my delivery by several days. After three days of framing and staying up late with only two or three hours of sleep. Finally I get done and load up 78 (which really turns out to be 79 because I forgot one) into the truck. Can you say stressed out? Here I am with a truck loaded up, going down the freeway praying I don’t get hit by another car! Spending most of the day loading and unloading my truck and placing paintings across 6 floors, I finally left to go home.
The next day I get a text from the gallery coordinator and she is asking if I have removed a painting. I text back “NOPE” and then called her. “Slave I” from the 31 day challenge last year was swiped right off the wall after it was hung an hour early! My immediate thoughts are that this has to be a StarWars Uber fan as the painting didn’t even have a title card posted yet! After a few minutes of thought I decided to post on FB. I mean, what the hell do I have to loose? Right?
What happens is an immediate avalanche of shares on FB to my amazement. Friends have even shared on StarWars fan sites and message boards. Thursday comes and I am in need of a painting to replace the stolen one. I’m still pissed about the stolen painting. Then an idea hits me as I’m talking to my friend Sam and that night after everything else is done, I begin painting Boba Fett. If you’re a fan of StarWars, you know that replacing a painting of Boba Fett’s "Slave I” with a painting of Boba Fett is significant. After all, Fett is a bounty hunter in the movies. Staying up till 4am to finish, I got to sign and titled the painting “Run & Hide Scum, I WILL FIND YOU!”. A clear message to the thief in the case he frequents the building. Next morning, I have to run and buy a frame for the new Fett painting. Then go attach labels to the work hanging at the gallery. Seventy-nine labels across six floors is a lot of work.
Somewhere in between that, I get a call from somebody who says their employee has my painting. He asked where I am and said that he will have the thief deliver the painting back to me. I told him that I was at the place where the painting was stolen at. He says good and the thief will be there in 20 minutes. Let me tell you it was a long 20 minutes! All I could think about was making sure I didn’t miss him walking in. Luckily the building superintendent showed up minutes before the thief did. As the culprit walked in, he tried to bolt for the elevators before I stopped him and told him to turn around. I pulled my camera out and shot photos of him directly holding my painting. There he was, standing with the stolen painting, the guy that had called caused me so much stress the past few days. I asked him why he stole it. I asked him why he didn’t contact me with the website address printed on the back. I told him if he wanted the paining so bad, I would’ve gladly worked out a payment plan for him so that he could own it. He just said that he was sorry and he made a mistake. He said he knew it was wrong the minute he stole it. I asked him “If you knew it was a mistake why didn’t you reach back out to me and tell me so?”. I told him I didn’t think he was that sorry because he waited until he was caught. I proceeded to chew him out and then demanded that he go upstairs and look at the replacement painting. As we were in the elevator I asked if he thought his parents would be ashamed if they knew what he had done. He replied, “Yes”. I asked him how old he was and he said, “23”. Then I asked him, “You do know this was a felony right?”. He looked down and sighed. We got to the floor and I made him walk up to the paining and look at it. There was Boba Fett hanging on the wall. I then told him to look at the title of the painting there on the small label and read the following “Run & Hide Scum, I WILL FIND YOU!” title. The thief‘s head dropped down. His face turned sour like someone who’s just been punk’d on TV. I told him I thought he would be back and painted this just for him in case he just happened by again. After some more of me chewing him out, I told him to leave and sort the rest of his day out. I would later learn that he was fired after returning to work. After finally getting all of my labels done and deciding to hang the returned stolen painting below the replacement, I headed home to shower and change for the show.
The evening came and managed to return back just in time for the exhibition to start. After everything was said and done the opening reception was a blast. I did my best to try and talk to everyone and manage sales of paintings. Best of all, was knowing I had made it through the week and I could relax for a day.
Sunday I remembered that I needed all new work for my next solo exhibition in mid March. I’m writing this now as I know it will be awhile before I surface and come back up for air to post another blog. Now back to the easel with my largest painting to date finished and drying with many more left to paint!
I have spent a great deal of time and thought on trying to convey my thoughts on the digital art form as a medium on equal level to traditional media. But after multiple writing and rewrites, I have come to the simple conclusion that perception of this medium may never change without thoughtful discussion and dialogue. Yes, traditional media is an original work of art; however, does it demand a higher price? Due to it's exclusivity, yes, I believe so. But creating digital art is a direct equal to painting. The same thought process and demanding mental awareness occurs. Being in the zone in front of the canvas with brush is the same as me holding a tablet and stylus. The exact same. Sure, there are apps that claim to emulate oils, watercolor, pen and ink, but they are invariably different from the real media they are trying to copy. The tools that the app developers make are unique unto themselves.
Why does digital art have a stigma? It's likely because of the art published that was traced, or painted over in some program like Photoshop. Apps that make photos mimic paintings through programmed filters are very popular. It's easy to see why artists feel threatened by this. I totally understand why some collectors or even artist themselves don’t want anything that can be mass produced. Rather they desire something that is handcrafted, one of a kind. After all, a digital drawing can be mass produced with ease. But let me argue this point, fine art has been reproduced for a long time. So what’s different with digital art? If drawn and rendered by the artist, is it not art to be appreciated and admired? Some artist go the route of only reproducing limited prints or even limit it to one digital art print. What's the difference between that and a clay sculpture made from a cast?
Will the digital art form ever rise to the level of traditional methods such as oil, watercolor and pastel? There are many artists that use the digital medium. Is it because it's ability to reproduce an exact copy each and every time? Andy Warhol made reproductions and used the argument that with each pass, the image itself changed, making it a unique piece. Thomas Kincaid made mass reproductions of his work with people embellishing paint on the print to make them individualized. I won't make any other comparisons to these artists, but you get my point, slight alterations can make anything "unique".
Over the past year, I have been approached by people wanting to purchase the digital art I've created. Some people are unaware that the artwork is digitally made. I truly believe that my drawing, color, design, and composition have been improved by digital painting. I have been perplexed with how to reproduce it in a way that is ready to hang. It is been quite frustrating to know that prints of my traditional paintings purchased by friends are still boxed up, unframed years later. I myself am guilty of this and know that the cost of a frame can be at times more than the cost of the print. There are services for printing digital art ready to hang with out the fuss of going to a framer. I look forward with seeing how the results pan out.
Let's look at the benefits of digital painting. I have found an outlet to create visual comps for ideas to paint and flesh them out. With the assist of a television to project them on, I can see if they will work as a large scale painting. Seriously, how cool is this? For oil paintings that I personally am stuck on, digital painting over a photo allows me to work out ideas to complete the painting and solve problems. Plein air digital painting is even being offered now by artists that work professionally in movie and gaming industry. The digital art form is a tool and medium unto itself and deserves equal respect for those that choose to create work in it.
Ever been out painting and forgotten to bring your brushes or paints? Leaving home without the critical gear to paint can be challenging or even disastrous. With the right preparations, you can be ready to paint at any given moment you want without the fear of leaving gear behind.
MY SOLO EXHIBITION RECEPTION! I'm really excited and hope to see you there!
January 1st I joined a 31 daily painting challenge hosted by Strada Easel. I wanted to jumpstart my painting and had heard of this challenge last year. The rules are paint from life (no photos) everyday. It was an extremely challenging process to figure out a subject to paint. Some paintings were started and abandoned due to time or work, which meant if it was plein air, I had to start all over again that evening. During this challenge I learned that I really should embrace still life subjects more as they are a great way to study light, composition and values when I can't be outside painting plein air. Most of the paintings were done in an hour and half to two hour range. After getting home from work, cooking and getting the kids to bed it usually was 10pm. Some of the paintings I wouldn't considered finished paintings but astute life studies. Not all of them are successful, but the constant painting everyday has greatly improved my confidence and helped me rely more on intuition an instinct. If you have not considered this challenge, I would highly recommend you should if you are looking to improve upon your painting skills. Below are the paintings in chronological order. For those that followed me on Facebook and Instagram, thank you for your daily support and encouragement! Thanks to Bryan Mark Taylor for hosting this challenge, I really enjoyed the process and challenge of daily painting.
I’ve really been enjoying using just the prime colors of Blue Ultramarine, Alizarine Crimson, Cadmium Yellow Light and Permalba White. In using this, I find that I have don’t have to rely on using a mother color or mud to help harmonize the colors used in the painting. However, the real challenge is to get reds to really pop as I would get using a Cadmium Red. I’ve also noticed when needing a dap of yellow when mixing darker tones, if I use too much yellow, the results are muddy and I have to start over. It also means I rely heavily on white throughout all my lighter tones of color. Either way, I am having a lot of fun painting with this limited color scheme. It will be interesting how my nocturne paintings comes out using this as well. Stay tuned!
I'm excited to announce that I have updated my store front and have new work up available for sale! To celebrate the kick off, I am discounting all available work 20% thru the end of August. Be sure to join the mailing list at the bottom of the site for exclusive notification of new works too!
Discount Promo Code: MI84QXP2016-20
Good thru August 31st, 2016
I don't know about you, but I really get stoked on the freedom to go out and drive looking for a spot to paint. The excitement of discovery and seeing something in the moment. I don't know how else to describe it except that it fits the surfer in me looking for waves to ride. Something is out there, I just need to wait a let it come to me naturally. Both of these paintings are typical of being open to my surroundings and when the time is right, I set up and get painting. Painting smaller and being more mobile allows for instantaneous decisions like trying to paint a setting sun over the harbor. Forcing a spot to work for you and your painting usually makes for a bad painting and it turns painting into a chore. It should be a passion. Driven and determined to lock down with paint on canvas the visual emotions laid out before us. I'm not interested in capturing exactly what I see, but rather how I feel about the moment and the surroundings I find myself in.
I am pleased to announce I will be teaching a two day plein air workshop on Rock Island, Wisconsin. July 6th & 7th
"Join us as we learn the basics in painting outdoors using oils with Doug Clarke. In a two day workshop, Doug shares his knowledge on how to observe the outdoors and give feeling and life to complete your paintings. Set within the rustic landscape of Rock Island State Park off the tip of Washington Island, students will have the opportunity to capture unique lake views and historic structures.
Doug Clarke is an award winning Plein Air and Studio painter based out of Virginia Beach. He works in oils creating plein air and studio paintings. A painter of "en plein air", Doug is known for capturing the vanishing landscapes of Southeastern Virginia.
Graduating Magna Cum Laude from Virginia Commonwealth University, Doug's work has evolved from commercial to fine art. In pursuit of mastering his craft, Doug participates in local and national plein air events.
Awards include 1st place at Plein Air 757, Williamsburg Plein Air and Plein Air Mount Lebanon competitions. Doug is a three time winner of the Historic Fort Monroe Plein Air Exhibition. His works have found a home in local and international collections. Doug is represented by Harbor Gallery, Ellen Moore Gallery and the Richard Stravitz Gallery."
Materials list and syllabus available on artist site:
So it's been a week and I wanted to let you know what I've been up to this past few days. With my new goal, I’ve been thinking about what direction to go with my painting. So far here’s the list.
- Painting bigger studio works, smaller plein air and still life.
- Marketing and promoting better
- Exploring avenues in which to sell and reach more collectors
If you read my previous blog entry, I’m setting myself on the projected path to painting full time. It’s something I feel I’m ready to take on. With that said, it will take a lot of time management skills on my part. So I started researching what are good resources to become better at managing my time. For those that know me, if you had to describe a characteristic about me, I’m guessing you would say that I look tired. It usually is followed with I drink lots of coffee. It’s true I’m always tired, staying up late to paint is tough, but I recognize that I need to manage my time better so that I can squeeze in more time to sleep.
One thing I have adopted early on is bringing my lunch to work so I can eat and sleep in my truck. It helps that I park in a garage, so finding a dark spot to park in is easy. I tune in to an iPhone app called Nosili that allows me to create custom nature sounds to provide a white noise to block out the car alarms, delivery trucks and other distractions one would hear in a parking garage. I try to stick to a routine in the car by listening to NPR instead of being on my iPhone while I eat and then switch to Noisli and power nap for 20min. Believe it or not, I can hit R.E.M. in this amount of time. This leaves me refreshed and ready for the rest of the day. I also have a second canister of coffee in the truck to drink when I wake up too.
As for managing my time more efficiently, I’ve done my research and the first book recommended to read is “Getting Things Done” by David Allen. The reviews are really good, so I’m hoping that I can get some groundwork laid to be more productive with my painting.
So, I’ll leave you with my photo dump of past things from last week.
Yes, I have full time gig that pays the bills. For some, it's a sign of failed artist. The stigma of a "part time" painter is perceived as one who didn't make it, or worse, isn't good enough. Granted, every time I show my work to people while I'm doing the day job, I almost always get, "What the hell are you doing here?". Well, if you must know, I'm here so I can provide healthcare and a steady income for my family. If you are reading this and follow other artists, you might be surprised some of them also work a full time or part time job. Unfortunately, most of us have experienced at one time or another, someone telling us we aren't real professional artists because we don't paint full time. Other times, it's an artist who has established a career that is condescending towards those who can’t make that leap yet. But I certainly can attest to many amazing painters who have been more than gracious sharing their time and knowledge with me. My own personal reasons for not being open about my day job is that it invites people wanting my professional opinion, when I’d much rather talk about art and painters that motivate and inspire me. Why then, might I be bringing this up now? Well, I know there are a lot of other painters who share the same dream of having a successful full time painting career as I do. I thought it would be great to share my own experiences with others.
I didn’t go to college to become a painter. When I graduated with a BFA in computer graphics & illustration, I was even more confused about what I wanted to do. So here I am, in my 40’s knowing exactly where I want to be in life, and I feel a lot of anxiety. Most of it comes from not knowing if my mark as a painter will reach it’s full fruition. I’ve made a lot of progress in a short time, but I’m restless and know my best work is yet to come. To paint at the level I want to be at will take an enormous amount of time and effort.
So I hope that you enjoy reading about my painting adventures and my own personal insight as I continue to evolve my art career into a full-time profession.
After listening to friends with their own switch to safer painting methods, I decided to go to try nontoxic methods with my paints. A good idea since my daughter, who is three, now spends more time in the studio with me. Recently, I learned a close friend had gotten ill due to the exposure to turpentine. My first venture into this was with the M. Graham Walnut Alkyd Medium. I liked it, but getting the oil thin enough to spread around fluidly was not happening. It dried fast and left a nice gloss to the finished oil painting. Using this as my sole medium made a difference in the odor of my studio and I became aware the gamsol on the few occasions that I did use it and found I preferred not to use gamsol if possible when painting. Leaving it in an open brush washer does make you exposed to it’s vapors. I decided move on to explore other options. During trips down to my local Jerry's Artarama, I discovered several nontoxic mediums to use with my oil paints. One that looked the most appealing was Chelsea Classical Studios spike lavender. The claims by the manufacturer stated spike lavender is a safe historic alternative to turpentine and the chronic health problems associated with it. It also promoted that spike lavender is used for aromatherapy and has calming effects. I should have become wary with one of the listed benefits of spike lavender was for “well-being”, but I was too intrigued with it’s benefits. So I dived in, cleared out my remaining gamsol out of the brush cleaner container and poured in the Spike Lavender. Immediately, the smelled dominated the entire studio. I began painting and found it to be as good to mix with as turpentine. I really began to enjoy it’s performance as it broke down even my thicker paints with ease. However, after 40 minute into the session, I couldn’t take the smell anymore. Tried to hang in with odor as best as I could, but my senses were literally overloaded from the vapors. Even my sweater had absorbed the odor and smelled like it had been soaked in the medium. I closed the lid and the next day returned to find my studio was still reeking from the powerful presence of the Spike Lavender. Having thrown out all the rags, I wondered what why the smell was still so prevalent, and then it occurred to me to smell the painting. The painting itself was loaded with the powerful odor of spike lavender. A week later and the smell was still as strong as the day I painted with it. To my dismay, I realized there was no way I could sell a fresh painting directly to a buyer in this state. My wife was already complaining of the studio every time she entered the room. Begrudgingly, I threw the painting in the trash outside. It took over a week for the smell to fully dissipate. Maybe I wasn't using it correctly and should have kept the lid on as much as possible or maybe it wasn't designed to be used with thin washes? One thing positive about the Spice Lavender was it's ability to break down paint to allow for thin washes with oil. For that alone, it worked incredibly well. I rationalized keeping the Spike Lavender in some form even if just to use as a brush cleaner, after all, the stuff is expensive. Luckily, for me, the gracious folks at Jerry’s Artarama were more than happy to return my purchase, those guys are awesome and always looking out for me. It took almost seven days for the studio to be free of the odor of the spike lavender. After further research, I came upon some documentation that indicated that I might be susceptible to an allergic reaction. After discussing with several artists who experienced similar reactions, it left with the conclusion that this was not the medium for everyone. So I began to search for other methods to paint in the least non-toxic manner possible. As of this writing, I have purchased Gamblin’s Solvent-Free Gel Medium and look forward to trying it on my paintings very shortly.
Lesson Donated by Doug Clarke
Supplies Donated by Kathy Rust
Unleash your inner artist and learn the classic technique of Plein Air (French for “open air”) painting in the great outdoors. Explore the effect of light on objects, use of color and compositional elements with celebrated local plein air painter Doug Clarke whose recent commissions include both Harborfest and Neptune Festival posters.
Choose your favorite Hampton Roads location to paint such as your house, favorite street, beach or your personal Pixie Hollow and work alongside the artist for 3 hours in order to complete one 8”x10” painting. Also comes with a gift basket of art supplies to keep up your artistic practice at home. All materials for your painting will be supplied... just bring your enthusiasm and your inspiration!
Mutually agreeable date TBD. Must be scheduled by end of June 2016.
I need another two plein air paintings. It’s submission time for some of the plein air events, and I don’t feel I have the pieces I need. It’s been rainy, cold and occasionally snowy. Worst of all, my strongest paintings are not of cloudy overcast days, I need the sun to peek out. I’m painting on a studio piece today with my gear ready to leave in case the sun peeks out today, so the forecast is predicting. It looks like it will rain, so in my effort to jumpstart my fitness challenge after being almost two weeks of sick, I decide to run four miles. Mind you, I haven’t run in a while and even then my runs were a mile in recent months. After the first lap around my neighborhood, it begins to torrential down pour on me. At least it is 60 degrees outside. As I make my way around long run, I look up in hopes of a fast moving sky to indicate it could clear by afternoon. It’s raining so hard though I can’t tell what it’s doing. I’m soaked to the bone by mile eight and exhausted. No chance of sun in the next hour, I clean up and get back to my studio painting.
An hour later, I pop the garage door open. Another hour rolls by and nothing. After lunch though, the sun peeks out for a fraction of a second, giving me hope. Back in the studio glimpses of the sun come and go, but I look out and see a small patch of blue sky on the horizon. On the weather app, it says that the cloud cover will push off over the Atlantic. My chance to paint today is looking better. By three pm, the sun has just broken and I have less than three hours of light. I realize now I have a delay, no small panels to use. Luckily for me Jerry’s Artarama is just down the street, time to pack up and go. It takes me 15 mins to get my panels, longer than I wanted. Somehow on my decision to go the marina to paint, I’ve chosen the wrong route and I deal with almost 40 minutes of traffic to get to there. I am trying to stay focused with every jam and construction obstacle I encounter.
I will have about two hours left of light, on my way to the marina, but I realize I will passing the Little Creek train yard. If I am lucky an engine or two will be there, so I take 10 minutes to detour down the backroad and muddy potholes to take a look. Plenty of cars with no charisma or color and no engines, back to plan A, the marina.
Five minutes later, I get there and I have to see what is the best subject to paint. The boats are always in a constant state of rotation, so most of what I saw last time I painted here as changed. Back and forth between the fishing boats, the boat lift and the dry docked sailboats. Ten minutes later, I decide to go with a hard docked sailboat. It has the most going for it composition and light wise, plus I know what the light and shadows will do as the sun goes down. I set up and begin to lay in my underground painting. Five minutes later I realize it’s too big and centered, wipe away and start again. Trucks are going by slowly as I know they are trying to figure out what the hell I am doing. I stay focused and ignore the cars and the people walking by to the restaurant next to me. The composition is almost done, but it needs something else. A orange cone is near by in the shade, so I walk over and place it in the foreground, but not to obstruct any cars. The cottage houses with their A Frame roofs are going to be too busy, plus with the light quickly fading, I decide to leave them out of the rough in.
Once I start laying in paint, I am very aware of the creeping shadows that are now threatening to rob me of color and light in just a short time. In the span of an hour, critical thinking and gut reaction takes over. I glance to the back of the restaurant and notice a group of workers on the their smoke break. I need a figure to make this painting work, so off I go to get one of them to stand in for me to gesture in. I get even more lucky as the guy eagerly volunteers, mentioning he has worked in the boatyard a few years. I tell him where to stand and for a two minutes he blends into the scene as if it were his boat that he was working on. I get my few strokes to imply a figure and get back to work. The shadows are creeping in and I have to focus on the masses and save all the minute details for later, if there is time. I debate on the color of the sky and decide to reach for the thalo blue to get that warm late afternoon sky. A few minutes of mixing and I get the right color. The hull of the boat is tricky because of the sharp lines and no room for error without a serious wipe away, but I learned a few tricks on my own the last time and they work out here perfectly.
It’s the last fifteen minutes of light for me, the sun has about twenty five minutes but the shadows will reach my scene before then. Furiously, I work on the details of the rudder and the propeller that I am just now noticing. Funny how details aren’t discovered till near the end. I get the mast and a couple rigging lines, add detail to the back of the fence and mass in the foreground. Add the telephone poles, random clutter in the background and sharpen up the shadows and darken where needed. Detail the figure again and add scaffolding. The shadows are covering the boat now and it’s now down to the last details I can muster before the cold sets in. I have not dressed appropriately and the chill quickly starts to affect my hands. By sunset, I’ve finished enough to pack up go home and add the last details to the railings, telephone wires and other small stuff. By the time I do get home, help out with the kids homework, eat dinner, tuck them in bed, iron clothes, and wash dishes it's midnight. I add final details, sign and shoot the painting, import and color correct, and then call it a day.
Tonight, it’s 23 degrees out and snowing. Only a few degrees warmer in my studio and I am wondering why I was such a slow learner from a workshop that I took several years ago. All the instructor wanted me to do was simplify with 3 colors! It seemed simple, but time after time I kept adding detail. After a few hours of this during the workshop, he kept dumbing down the paintings. I thought I understood what the goal was and yet I seem to fail miserably at it. Why wasn’t I getting the concept? It’s haunted me to this day and every now and then I start a painting out with an attempt at this formula. For the most part, it helps, but my inability to grasp the simple approach to painting has frustrated me. Every now and then, I will see a post of his showing a old master who has this concept carried through in the painting. I see it, I understand it, but dammit, I can’t seem to produce the same results! And when I read about a designer who has taken his class and “gets it” right away, I am thoroughly pissed. I am just blind to simplification? What is wrong with me? There are other painters who have this down and it’s amazing to see their process from the simple start to an amazing finished painting. Ugh. So anyways, here’s my 3 color approach to my current painting. I’m sure it haven’t dumbed it down as much as it could be. Maybe I’m holding on to visual cues to help when I start to add detail. I think I get this. The color underlying simple painting is supposed to let me know if it can stand on it’s own two feet. If it can’t then I’ve got problems.
Other things on my mind while painting tonight, are just for me to remind myself of why I paint. If any of it is useful to you, great. If not, I don’t care, I said it was for me.
1. If you are just starting out to paint and can find a mentor willing to guide your development as a painter, DO NOT WASTE THE OPPORTUNITY! I only wish I had that, and it wasn’t for lack of trying. Honestly, though, I’m late to the game when it comes to painting and really didn’t show much promise early on. Thank God for the Norfolk Drawing Group! I owe so much to everyone there for all I have learned.
2. I’m at a place now where my competition isn’t with anyone else but myself. I can see in my mind where I want my completed paintings should look like when they are finished, but rarely do they ever hit the mark.
3. Painting to just paint is reward enough for me. It’s the process of painting and getting better at it is what makes me happy. I’m at a point in my development where much of my old work has made it’s way to the trash bin.
4. I’m not a writer, and half the time I have a hard time trying to figure out what’s wrong with my own paintings that I really am no authority on how to paint.
5. The more I learn about painting, the more I feel clueless. It’s like math, I see it, but don’t expect me to break it down and communicate the reasons behind it.
6. Give up on trying to paint what sells. It doesn’t work for me, it probably won’t work for you unless you are a machine or robot. Paint what you know and love, the effort somehow transcends through to the painting.
7. If I sound mad, I am. Not at you, but at myself and the lack of progress made.
8. I forgot what 8 was for.
9. You can’t help being inspired by others. Just make sure you are feeding your influences beyond just one painter. Nobody likes a clone. So go out there and find as many painters as you can to admire and appreciate.
10. If you aren’t painting for yourself, pack it up, throw in the towel and just quit. I am grateful for every person who has loved my paintings enough to be willing to pay me for them.
I’m going to stop writing now that my feet have warmed up enough to work a little more in the studio. I hope the little heater has gotten it warmer than 30 degrees by now.
I hate to say it's too cold to paint. When I'm fighting a cold that won't go away, the only thing I like to focus on is to get better. I don't know about you, but being sick really sucks. My energy is gone, but the motivation is still there. I just finished my second largest painting to date, and already I'm feeling like I may need to paint another one the same size so that I get better at mixing larger amounts of paint. If you haven't painted in oil before, paint is expensive. Especially when you have paints that is rated in series numbers. For instance, a series I burnt umber is a lot cheaper than a series V cadmium red. So when mixing colors and a large amount of paint isn't the right hue, sometimes I have to start over mixing. That wasted paint goes into my mud mix. What's a mud mix you say? Well it's a mixture of various paints mixed to a nuetral color that I then mix into most of the other colors that go into my painting to help balance all the colors in the painting. It's easier to write this than to do it, believe me.
This month is busy for me and one of the things I have to tackle is to get two more solid plein air paintings under my belt. Tuesday is looking like my best opportunity to go out and get a solid painting done outside. The weather forecast says partly sunny with a strong chance of rain. I'm hoping the sun stays out that morning at least. I have this vision of where I want my paintings to be at in this stage of my painting career. I got one done last month that fits the bill, but my second fell short.
I'm still playing with the Apple Pencil and so far it's been great. The responsiveness it incredible and it makes any work done on a wacom feel feeble and sluggish.
My largest solo is coming to an end this month on the 29th. I would make sure you see it before then, because I will be there bright and early to tear down so I can ship out all the paintings that sold. Here's the address in case you missed it.
2101 Parks Avenue
Virginia Beach, VA
Despite the odds these past two months, I managed to get this done. Looking forward to the next big painting.